Recently in Performances
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
09 May 2011
Houston makes sense — and music — of Ariadne
Ariadne auf Naxos, the next major endeavor of the Richard Strauss/Hugo von Hofmannsthal collaboration after Der Rosenkavalier in 1911, has been a special challenge for American opera companies.
Much in the work depends on the wit of the Prologue, in which the richest man in Vienna demands that the evening’s performance in his home merge the planned comedy and tragedy in a staging to last not more than one hour. It would otherwise interfere with the fireworks — the heart of the evening, one gathers — that is to follow.
In the age before titles, the Prologue was sometimes performed in English; the opera in the intended German. Titles now bring home the egotism of singers who fight about dressing rooms and the frustrations of the idealistic young composer who sees his work devastated by the striking of a single note. More important, however, is the foreshadowing of the opera in the intense love that the composer comes to feel for coquettish commedia dell’arte Zebinetta, who in her fickleness seems everything that he and Ariadne are not.
Scored for a mere 35 instruments, Ariadne is — despite Wagnerian vocal demands — a chamber work that echoes the Baroque once dominant in Strauss’ native Bavaria. And it was Patrick Summers thorough understanding of these roots that accounted for the unusual radiance of the staging, seen on opening night of the five-performance Houston run.
This was an Ariadne of cultivated gentleness, in which reserve dominated and in the opera accounted for the seamlessness with which tragedy and comedy blended with such ease. Keeping Strauss’ sometimes runaway sensuality in check, Summers concentrated rather on the intimacy of the opera, drawing the audience into a story that in its intricacy identifies von Hofmannsthal as perhaps the greatest librettist in the history of opera. Conductor Summers, HGO music director, is now an established figure in the world’s opera houses, and here he showed again the polish and sophistication that he has brought to the company’s orchestra.
The central figure in the Prologue is the youthful Composer, a trouser role patterned after the Octavian of Rosenkavalier. In this country Susan Graham continues to hold the copyright on these roles. A dashing and exuberant figure, she played the art-and love-smitten composer with fervor and conviction and without exaggerated mannerisms. She clearly remains at the height of her vocal powers.
Christine Goerke, famous for her interpretation of such dark roles as Wagner’s Ortrud and Kundy and Verdi’s Eboli, brought richness to death-obsessed Ariadne in a performance made luminous by Summer’s disciplined approach to the score. The conductor deserves further praise for the transparency with which the nymphs who watch over Ariadne as the opera opens sang.
Over the past decade Texas-born Laura Claycomb has distinguished herself in works from Handel to Mahler and Britten. Without slighting the playful side of the role, she stressed that Zerbinetta — despite appearances — is looking for the one man to whom she might be true.
Bacchus, an unrewarding assignment, would be a supporting role, were he not needed to engineer the transcendence with which the opera ends. Sometimes a role for ageing Wagnerians — James King comes to mind, Alexey Dolgov is perhaps too young to play Bacchus. (The Siberian-born tenor made his HGO debut as Puccini’s Rodolfo in 2008.)
John Fanning as Music Teacher and Susan Graham as Composer
It is, however, the role itself that is problematic. Bacchus, at best a bit of a bumpkin, stumbles onto Naxos on the heels of heroic exploits, and — until he falls hopelessly in love with the abandoned Ariadne — doesn’t really understand what is going on there. Neither does Ariadne, who sees him as the envoy of Death. Thus the two sing at cross purposes at the outset of the duet that ends the opera. Nonetheless, one felt that Dolgov had been miscast — the single blemish on the otherwise enviously engaging performance. Of course, one knows Strauss’ antipathy for tenors, and Dolgov’s shortfall underscored that this — like Rosenkavalier — is a womens’ opera.
One left the Wortham with heart warmed by Goerke’s deeply internalized delivery of Ein Scho”nes war and “Es gibt ein Reich” and awed by the effortlessness with which Claycomb proved herself an ideal Zerbinetta.
Boris Zyakov as Harlequin-and Laura Claycomb as Zerbinetta
Six of the seven youthful singers cast as nymphs and commedia dell’arte clowns were current HGO studio artists, underscoring the high professional standards of that program.
All in all an Ariadne to treasure, the production not only concluded the present HGO season, but further brought down the curtain on Anthony Freud’s all too brief tenure of the company’s general director. (Freud arrived in 2006.) Freud succeeds William Mason at the helm of Chicago Lyric Opera.